 I'm an actor, I enjoy becoming other people. It always seemed more interesting than being myself, myself. I do theatre, I do films, I do TV. These days you have to diversify a little, you know. And I like to play characters that are pretty extreme. But along the way I learnt that acting is not so much about acting, it's about reacting. It's not so much about talking as it is about listening. Acting I discovered is also about truth and about memory. Somebody else who was concerned with truth and with memory was Alex Bahrain, well-known figure in South African politics, guru of transformation, and of course the vice chairman of South Africa's Truth and Reconciliation Commission. He was also my father, he is also my father. Ironically I felt a lot of resentment towards him because he was always devoted to a cause instead of just being a dad, you know. I felt like a victim of his choices because he was never around. He was always sort of out on some crusade saving the country. Then I did a play called Truth in Translation and I went on a journey of transformation. Truth in Translation tells the story of young interpreters who became the voice of both victim and perpetrator during South Africa's Truth and Reconciliation Commission. They translated in the first person, everything, flowed through them. Lies, truths, forgiveness, rage, pain, celebration. The interpreter's mandate was do not become involved. An impossible task. To capture these contradictions in a performance, ooh, what a challenge. Despite the fear of taking on my father's mantle, the TRC, Archbishop Desmond Tutu, you know, this big thing, I decided to take on this role. And the play was a huge success. We toured three continents, eleven countries, played to over 55,000 people. We mostly toured post-conflict zones because of the nature of the work as well as running acting workshops wherever we went. Always asking the same question. Can we forgive the past to survive the future? A question that Nelson Mandela asked of all South Africans. We were exposed to some of the worst atrocities. Rwanda, Northern Ireland, Bosnia, you name it, we were there. The thing of it was we didn't go in as politicians. We didn't go in as peacekeepers. We didn't go in as conflict resolution experts. We went in as actors, under the radar. A rag tag bunch who just wanted to tell the story of South Africa's transition and the Truth and Reconciliation Commission. And the good, the bad and the ugly weren't going in with these delusions of grandeur at all. I met a young Tutti woman in Rwanda who said to me, forgiveness is not something that just happens. Forgiveness is something that I decide to do. Forgiveness is something that I practice. That stayed with me. You know, workshops, we didn't ask people to reconcile or forgive. We asked them to rehearse. We asked them to play the truth, just like any actor would. And they could. You see, it wasn't real. It was just acting. But once you allow something in, denial is disturbed. The endless narratives of we will not forgive, they become flawed. Once you start to rehearse something, you make it real. Every good actor knows this. Breaking the vengeance cycle, transforming conflict and creating the possibility for dialogue all through rehearsal. I mean, was this even possible? I thought so. And the idea inspired me to help build an international NGO called the Global Arts Corps. And through the GAC's work, we create theatre that does not shy away from some of the hardest questions facing post-conflict societies today. I now understand some of the choices that my father made and many others have made for this country. And I respect them deeply. I may have been a casualty of that sacrifice, but I'm not a victim. That's the part that I rehearse every day. Thank you.